Creativity Blog

How Long Does it Take to Paint a Picture?

Posted on February 15, 2012 by Pam

How many times have I been asked, or have heard other artists being asked, “How long did it take you to paint that picture?”
That’s a loaded question! If I say two days rather then six months does that mean the work is of lesser value? I never did understand why people ask this? Even if it took two days it may have taken ten years to get to the place where I could knock it out quickly.

Whoever said, “Anything worthwhile takes time and effort to achieve,” was correct. It took Michelangelo from 1508 to 1512 to paint the Sistine Chapel. Georges Seurat started painting La Grande Jatte in 1884 with a preparation of 28 drawings, 28 panels and 3 larger canvases. He roughly completed the piece a year later in 1885, but in a second stage, added more. So technically speaking the completion of the La Grande Jatte was just before it’s exhibition in May of 1886.

Whistler commented on the amount of time it took to complete Nocturne In Blue and Gold, “It has taken me a lifetime to get to where I can even begin to do this.”

Artists have different opinions and responses to how long it take to complete a painting? Some describe perfecting their works as a long continual process of editing and re-editing. Others think it’s just easier to prepare and complete a series in a short period of time. Still some complain of being unable to finish a piece (for a variety of reasons). You can view other comment here: Readers Respond: How Long Does It Take You to Complete a Painting?

Personally, I find it difficult to work on a piece for over a month. Most of my work takes several weeks to complete. I think about what I want to express for a long time. More often, one series follows the other in a natural progression of one idea opening up to the next idea. For example, I started many years ago with an interest in paper, it’s origins and history, how it is made and how it was used for decorative purposes in different cultures.

While teaching art in elementary school, I prepared a unit that included paper dolls. The paper dolls led to research on Victorian decorative arts. Later I learned about the cut paper designs of the Pennsylvania Dutch, Polish wycianaki, German scherenschinitte, kirigami designs of Hawaii, cut forms of China and so on. My love for cut paper developed into a paper cut series based on little people (or treeples) living in trees. Eventually my trees evolved into florals and I incorporated cut paper onto canvas with acrylic and craft material. In the meantime I took up meditation and my florals morphed into swirling curvilinear shapes of color that included paper cut mandalas.

I learn something new in each series. This propels me into the next set. This process begins with initial sketches, a studio prepared for work with standard paper and canvas sizes ready to go; and, media that includes paper, acrylic, craft material along with my signature palette.

Patience, time and clear ideas developed over time led me to a seasoned approach towards my art. So now when someone asks, “how long did it take…? ”
I say, “Well, that depends… do you want the short version or the longer story?”

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals.
(510) 593 9081 or email pamfingado@fingadoartgallery for information
Visit http://www.pamfingado.com

Whirl In - Whirl Out

Whirl In - Whirl Out (c) 2010 Fingado

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Solitude

Posted on February 8, 2012 by Pam

One of my favorite creativity blog writers, Orna Ross, recently wrote a post about artists needing to be alone. She sites, psychologist, Howard Gardner, “The only attribute that all creative people share, he concluded, is a large capacity to be alone.”
Throughout history creative people such as writers, Ernest Hemingway and Henry David Thoreau, actresses, Helen Hayes and Greta Garbo and many others recognized the need to take a break away from their craft to unwind and relax the brain.

Virginia Woolf – In solitude we give passionate attention to our lives, to our memories, to the details around us.

Girl resting in a field of wildflowers

Girl resting in a field of wild flowers

 

During those times alone, creative people reflect, review and refuel. This is where new ideas begin. Refreshed they are then able to return to the studio, the study or their work place to begin a new project.

Pablo Picasso -  Without great solitude no serious work is possible.

Creativity is defined as the ability to develop new and original ideas and things.

The beginning of the creative process doesn’t really start with an idea. It starts with preparation to accept the idea. If I compare an idea to a seed and the soil the seed is planted in to solitude, then soil becomes a metaphor for quiet and solitude. It is in this solitude, that new ideas are cultivated.
Actual development of the seed comes after it’s planted and nurtured. This is a slow process where it is protected, fed and watered. This is the incubation period. When it takes root during the germination stage, the seed (idea)  starts to grow and develop.

Some artists get a little worried during this quiet time, wondering what happened to all those ideas. Unless there is a definite creative block, that time ‘without ideas’  can be the most rewarding ‘down time’ in the creative process. These periodic breaks from creativity are actually necessary for the development of new ideas. When artists take a breather, they travel, go for a walk, listen to music, take in a movie, or whatever it takes, so they can renew themselves and generate new ideas. In the blog, Harmonious Living, the author, Ririan lists all the ways in which to enjoy solitude.

Take the time to unwind, relax and recognize that solitude is a natural step in the creative process.

Solitude gives birth to the original in us, to beauty unfamiliar and perilous—to poetry. –Thomas Mann, Death in Venice

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals.
(510) 593 9081 or email pamfingado@fingadoartgallery for information
Visit http://www.pamfingado.com

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Developing A Plan For Creative Ideas

Posted on January 31, 2012 by Pam

"Second Chakra" Mixed media (c) 2012 Fingado

Last week I wrote about ways in which an artist can choose one idea from many. Now, I’ll let you know how to develop a plan so you can get started to work on that one idea.

So an artist chooses an idea. The next step is the plan. Simply stated, the plan involves an objective that supports a vision, and strategies to support the objectives. For example, my vision is to create a series of art that reflects my love of color. My reason or purpose for doing this is I am an artist who creates art to share with the public.
My goal or objective is to create a series of mixed media color studies based on the seven *chakras. My substructure conceptually is based on seven colors. Since I am working abstractly focusing on color, I start with the primary colors of red, blue and yellow, considering the triads and complimentary colors on the color wheel. I am open and explorative recording the specific feelings and sensations that come up during the meditative process. I stick to a format of circular and curvilinear forms floating in space. No angles, hard edged lines, contrasts and so on. These are calming and soft pieces.

So my plan starts with an
#1 Objective:
*I will paint seven mixed media pieces based on the seven colors associated with the seven specific chakras.
#1 Strategies (for reaching this objective)
*Set aside studio time each week for painting.
*Inventory tools, brushes, paper and paint.
*Purchase materials needed before starting to paint.
*Turn on my phone message machine letting people know I am in the studio.
*Get seven canvases/ or paper prepared and ready to go.
*Bring finished pieces to critique groups.
*Gain feedback and make any adjustments to paintings.

My time line is to have these pieces finished by May.

Since I do not have an exhibit lined up, I will be thinking about
where I will exhibit these when they are completed, and consider how I will market them.

# 2 Objective
*Market new work of color studies.

#2 Strategies (to achieve this objective)
*Research galleries that exhibit this type of work
*Place work online when appropriate.
*Purchase giclees and place online to sell.

Notice this objective still supports my reason or purpose to share art with the public. And my vision still supports the overall reason of being an artist.

This framework or plan always remains the same. The purpose remains the same. The vision is what you intend on achieving that supports the purpose. The objective or goals can change but always support the vision. The strategies always support the objective,
Finally, the time line can be broken down by weeks, months, quarters and years depending on the vision.

This is a basic plan that works for any artistic endeavor, business or achieving a dream.

*charkas: chakras are junction points between consciousness and the body. Used in charka meditation with mantras to create a tone in the mind and body that is therapeutic and nourishing. Go to Chakras/Chopra Center for more information on charkas.

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals.
(510) 593 9081 or email pamfingado@fingadoartgallery for information
Visit http://www.pamfingado.com

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How to Choose One Idea From One Hundred and One Ideas

Posted on January 23, 2012 by Pam

A few weeks ago I wrote about artists generating new ideas. In that blog I said most artists have a lot of ideas. Choosing one idea from many may be challenging for some. Then on the other hand, sticking with an idea and following it through to completion may be difficult for others.

Today I’ll write about choosing one idea from the many creative ideas an artist may have.

1. Recording ideas:
Hopefully you will have recorded your one hundred and one ideas. I write mine down on post-its, calendars, pieces of notepaper and in the last few years, recorded them on stickies on my laptop or in notes on my i Pad.

2. Journal:
I journal every morning. I start with Julia Cameron’s Morning Pages from The Artist’s Way. Then I proceed to organize and prioritize. Here’s where my lists come in handy. I review what I’m still interested in and I cross out what I have lost interest in or decided against. Usually this is a process where I am exploring and researching for a period of time learning what my ideas may entail.

3. Prioritize

Actual choosing boils down to what I consider doable and realistic. That doesn’t mean giving up my dreams. It just means I need to take steps towards that dream and start at the beginning. I want to see success and accomplishment so I keep that in mind as I begin to prioritize.

First, I ask myself if I need to research or explore any of my ideas. Do I need new skills? Is there training or education involved? Are there classes or workshops I can take?
Secondly, I consider my time. What can I accomplish in a reasonable period of time? My reasonable time may be a month. That means I need to see some positive results from my choice within that time frame. Others may want a shorter period of time to see results or longer depending on the idea and your preference.

Some ideas are directly related to projects that have a built-in time structure. For example, entry dates for contests, publications, exhibitions and so on have established dead lines.

Since I am self-employed I can be flexible with some projects, rescheduling time for exploring and completion. Others with day jobs may have set limits to their free time. This all needs to be considered.

Third, start a list numbered from #1 to #10. Have more then ten? Leave those in your notes. You can always go back to them months later. More then likely, some will die out naturally and others will keep resurfacing until you give them your attention. You will see a pattern of recognizable themes and ideas that repeat themselves in various forms over time.

4. One Choice
From the list of ten, choose one from the top three. By now, you will have researched your ideas, asked questions, and spoken to those who are experts in the subject of your ideas. Coaches, teachers, career counselors or people who work in the field (related to your idea) are good sources of qualified information.

You will also have estimated the time involved in following through on this project and know if you need additional training. Most importantly you will have reflected on your personal values, acknowledged your limitations and recognized what motivates and sustains you. You will have answered the question, “Am I willing to devote the time and energy to this idea to make it work?”
Sounds easy, but it often entails so much more!

Next time, I’ll write about developing a plan for one idea.

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals.
(510) 593 9081 or email pamfingado@fingadoartgallery for information
Visit http://www.pamfingado.com

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Interview with Filmmaker, Eve Ma

Posted on January 10, 2012 by Pam

Eve Ma is an international filmmaker residing half the year in California and half the year in Spain.
Her films include documentaries, narratives and experimentals. Her subjects are music and dance, ethnic diversity and other work with cultural content.
On Friday, January 20 at 7:30 P.M. there will be a Release Party for the screening of the documentary, A Zest for Life. Visit here for more information.

Eve Ma interview:

Can you give us a brief background pre filmmaking?
Brief background: I started off as an historian. I got an MA in U.S. history and a PhD in modern (post 1368) Chinese history, then worked first as a historical consultant (clients included Golden Gate National Recreation Area, U.S. Army Corps of Engineers, various private clients and some museums), next as a history professor (Cal. State Hayward and then Mills College, where I taught both graduate and undergraduate courses). After “doing history” for 20 or so years, I decided on a career change and a friend recommended law school. I attended Hastings, planning to go into public international law (treaty writing, etc.) but a week after I received notice that I’d passed the bar, there was a family emergency which made it impossible for me to travel and work long hours, so I had to give up my goal and instead, opened a little one-woman office. I maintained that office for a few years but found “normal” law to be boring, and so started a non-profit cultural organization which I ran for 6 years, bringing its budget from $3,000 to $75,000. But administration is not for me; it gives me nightmares, so I turned the organization over to someone else. One of the programs of the non-profit had been to interview people on television, and I found that extremely interesting, so when I left the non-profit, I moved into producing and hosting my own television series and from there, into filmmaking.

1.You started filmmaking later in life. Can you tell us what motivated you to go into filmmaking?
SEE ABOVE. In addition, I’m very visually orientated, I enjoy working with a crew, and I enjoy editing. It’s kind of like molding something with your hands, like clay. NOTE that I didn’t start out doing my own editing. I had an editor, but she walked out on me in the middle of editing one of my programs and I had to pick up the pieces, so was forced to learn.

2. How do you generate new ideas for films?
My problem isn’t how to generate ideas; it’s how to keep the number of ideas down to a reasonable, “do-able” level. For documentaries, I love ethnic and cultural diversity as well as the arts (especially music and dance) and there are an infinite number of possibilities out there. For narrative, if you take a relatively simple story idea and try to imagine what you’d need to do in order to get it to resonate with others, there are also an infinite number of possibilities, especially when you add in the elements of dialogue and exactly how you’d create the appropriate images. After I’ve finished principal photography and edited a rough cut, I try to listen to my audience and find ways around any problems they point out, without being too specific and heavy handed in the process. I’d rather have people think and feel, instead of getting everything handed to them on a plate. This means that for the time being, I prefer endings that leave an open, unanswered question.

3. What do you consider the most difficult part of filmmaking?
The technical part, which breaks down into capacity and funding, is the hardest part for me. In terms of capacity, since I am essentially self-taught, I have made LOTS and LOTS of mistakes. I have tried hard to learn from these mistakes and believe I’m starting to see the light so that the technical quality of my current work is adequate and often, a lot better than adequate. In terms of funding, well, to put it mildly, there is not much funding out there. And if you don’t have enough funding, it’s really hard to get good, clean sound. It’s hard to get the image you want not only because of problematical lighting but also because your camera person or your actors may not have gotten it right the first time, or you as a director may have left out an important element, and you need to go back and do it again but might not have the money.

4. What do you consider the most enjoyable in filmmaking?
I like imagining how a scene should look and solving the many problems related to that. This is a challenge you’ll find in documentary as well as in narratives or experimental work. I also like working with actors. I do like working with the interview subjects for documentaries, but working with actors and creating the story is even more fun for me. I like most of the production part and the editing part (with the partial exception of putting the film into the computer, which can be time consuming and for me, pretty boring). What I don’t like but as an independent, underfunded filmmaker, must do is publicity and especially, marketing.

5 .How do you sustain/maintain your creativity?
Again, I have more of a problem picking and choosing from my ideas than generating them. That said, sometimes I have a rather vague idea but to make it concrete enough to turn it into something that will communicate is another and sometimes very large step. I have to discipline myself and just force myself to do it.

6. When filmmaking, what strategies do you do use to break though frustration, overcome stress and become more productive?
Mostly, I just tell myself it’s got to be done. Another strategy I use is to go for a long walk, or go out for a glass of wine, or go to a movie – get away from the problem(s). Every once in a while, I try to write down a list of things I need to do with the idea that I will then prioritize, but the lists grow so fast as to be totally unmanageable. When that happens, I try to approach the matter from a different angle. My latest idea is that I’ll try to set aside specific days in which I’ll tackle specific tasks. The problem is especially acute with respect to marketing, which I don’t like; find to be unending, and tiresome.

7. What are your plans for the future?
My immediate plans are a) to do right by my soon-to-be-released documentary, A Zest for Life: Afro-Peruvian Rhythms, a Source of Latin Jazz (I want to do right not only by the DVD but also by the CD of the musical track), b) to complete and then get out to the public my dramatic narrative Domino: Caught in the Crisis, c) to finish production on the flamenco CD I’m co-producing with a company in Spain and d) to decide which of my half-finished projects I should work on completing next. Funding will be a key element in the decision.

8. Do you have any advice for new filmmakers?
Go to a good film school, if you can. You’ll learn a lot of things the easy way (instead of the hard way, like I did) and you’ll develop contacts that will serve you well (contacts that I am only just starting to develop).

Fingado Art Gallery, Pam Fingado © 2012 All rights reserved
 Jump Start – Coaching and Mentoring For Creative Individuals. Call (510) 593 9081 or email pamfingado@fingadoartgallery for information
Visit http:/www.pamfingado.com

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Creative Ideas

Posted on January 2, 2012 by Pam

”Ideas are a dime a dozen,” “it’s not how many ideas you have, it’s what you do with the ideas you have that makes a difference.”

leaves grow in a light bulb

Leaves Grow In A light Bulb Have Buterfly

Most artists I know have few problems with generating new ideas. It’s choosing which idea to follow, sustaining the enthusiasm to complete the project generated by the idea and discipline to keep from moving from one to another without completion of any, that can cause a problem.

There are many articles on the Internet that address artists who have too many ideas. I have read blogs that contain strategies for overcoming indecisiveness I’ve attended workshops that teach organization, marketing, goal setting and business planning. I have even read books on how to overcome resistance. Even so, when it comes to ideas, I often feel like a kid in the candy store. What do I choose? As an artist faced with unlimited possibilities, I need to form a perimeter by which I can select a reasonable number of projects. My choices will be made on experience and confidence acknowledging that as I do this to get started, I will while remain open to discovery and detached from the outcome.
That’s a lot to consider!

Where to start and how to choose are familiar issues artists face on a regular basis? As one of those people with a busy mind, I have found several ways to keep focused. Starting with those creative ideas….

1.   Journal every day.
2.  Keep notes, post-its, lists, a recorder, iPad or smart phone
3.  Prioritize
4.  Organize and plan
5.  Discipline and time management
6.  Meditate

Make choices based on what is do-able, time, energy and finances.

I will expand on each one of these strategies in future blogs. I’ll be asking other artists how they handle their creative ideas and report back to you on them.

To avoid feeling overwhelmed confused or suffering a complete melt down where there is no creative functioning at all, meditate. This helps me not only relax, and focus, but reminds me to trust in the unfolding of the creative process. It can happen naturally and effortlessly if we let it.

Fingado Art Gallery, Pam Fingado © 2011 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals. Call (510) 593 9081 or email pamfingado@fingadoartgallery for information.

Visit Http:/www.pamfingado.com

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Creativity and Community – The Gift of Art

Posted on December 24, 2011 by Pam

I attended the Berkeley Art Center Annual Members Holiday Exhibit, Shine, over the weekend. Over two hundred fifty artists participated. Many art organizations have celebrated the holidays by displaying their members’ art and craft works. Just a few examples are Point Richmond Arts Collective, Oakland Pro Arts, and The Richmond Art Center Holiday Arts Festival and The Berkeley Artisans Holiday Open Studios. This is the time of year when we think about giving gifts. There is no better way to support artists then by purchasing a gift that is one of a kind! If a gift is not your choice, consider contributing a donation to the many non-profits in the San Francisco Bay Area.

giving a gift

Giving a gift

Artists and art organizations form a symbiotic relationship, one of a cooperative, mutually beneficial bond. Giving and receiving gifts is by its very nature a similar connection. People give because they care about someone or something and want to help or show support. When the recipient accepts a gift, they acknowledge the feeling and intention promoted by the exchange.

During the last part of the creative process, the artist prepares to share her work with others. She is fed and nurtured by the dialogue that results from sharing her piece with friends, other artists and the public. Another acceptance of her art is in the purchase of the art or monetary exchange.

This holiday season support artists and the art community by purchasing a gift from them. Insure that final step in the creative process is a positive one. Encourage creativity in your neighborhood by donating to an arts organization. Give a gift of a handmade, original work of art and receive the joy of supporting a local artist.

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Interview with Kate Peterson – Community Support and Creativity

Posted on December 14, 2011 by Pam
jewelry tree

Jewelry Tree in "adorn & flourish"

Kate Peterson opened adorn and flourish at 7025 Stockton Avenue in El Cerrito this summer. As the “new kid on the block” I wondered how community support and creativity were helping her business succeed.
Below are questions I asked during an interview with jeweler, Kate
Peterson.

1. How long have you been making jewelry?

I’ve been making jewelry on and off for many years, as a hobby, but I began taking classes and being serious about it a few years before I started my business in 2006.


2. How did you get started? What motivated you to start?

As long as I can remember, I’ve been creatively exploring different mediums in art and continued, throughout school at California College of Arts and Crafts. But I didn’t find my niche in jewelry until much later when I realized I could incorporate my love of gemstones, metal, color and design in a tangible work of art you could wear! I started taking classes and had a natural ability and talent for making beautiful jewelry. I learned the skills of beading, wire-work, firing precious metal clay and then soldering, fusing and metal smithing. The compliments on my work were overwhelming, and I knew I had found my place in the world of art-something I had been on a quest for since I was in art college.

3. What inspires your designs?

Over the years, I’ve designed simple signature components made out of different types of metal that work as a backdrop for the gemstones. I developed collections that reflect my love of certain places and experiences and within those collections I use certain component styles and shapes and specific material colors. Each collection exudes its own emotional response in a customer. Designing is my most favorite part of the process. Figuring out what components work with the certain gemstones opens the creative floodgates in me. In addition to working with gemstones, I also include pearls, glass, shells, wood, rocks and various other natural materials in my pieces. Using my signature silver and gold components, gorgeous gemstones and other materials in beautiful monochromatic combinations, I’ve defined a cohesive and recognizable style.


4. How do you use creativity to connect to your customers?

Custom orders are a significant part of my business. Pairing a customer’s vision with my style is both challenging and rewarding. The opportunity of creating a meaningful piece of jewelry for a customer allows me to stretch myself out of the normal jewelry production box. When I present a custom piece to a customer and it’s “just what they wanted”, it’s a reminder that I’m in the right place with my creative life.

5. How do you use your creativity to sustain your business during economic downturns?

The significant fall in our economy has been very difficult for my business. People just don’t have the extra dollars to spend on a luxury item right now. I waited a few years before making any significant changes, sticking to using expensive metals such as 18k gold and sterling silver. I continued offering higher end pieces consistent with my signature style. I noticed two things in what was selling and what my customer was asking for: 1) jewelry pieces in a specific price range and 2) smaller pieces made with premium materials. So recently I’ve adapted by changing those two specific things. I’ve begun working with less expensive materials such as brass, copper and steel to bring my customer a more affordable material choice when shopping for larger kpd jewelry pieces, and now I offer a much smaller version of my signature style while still including precious metals and gemstones. It’s a win win!

6. As a small business owner, do you feel being creative is an asset?

Absolutely! My business is constantly faced with challenges. An open mind and creative approach to problem solving is number one on the daily to-do list of a small business owner. I recently had the challenge of creating wall hanging display space in my new shop. A few re-used fence panels, a couple coats of paint and the help of my trusty handyman (my dad!) and we had a cool rustic wall of space to hang handmade beauties!

7. What do you consider was the biggest risk or scariest move you made regarding running your business?

Every step forward can be a risk. The craziest move I made was quitting my regular, full-time, well paying job as a retail manager for a major home and garden company to explore making and selling my jewelry. Yikes! At the time, I didn’t know exactly how I would do it, but I had the passion, commitment and faith that I could make it happen. I went from selling out of my home studio and online to a successful retail shop in 4 years. Having the vision, drive and commitment to push me through these scary times developing a business, was one thing, but I also had lots and lots of help-help from an ever-supportive family and very good friends! When you come in my shop, you will see me running it, but I wouldn’t be there without the consistent effort and encouragement of many others. My dream of owning a little shop, making and selling my jewelry in my community, while helping others to do the same, actually happened! I believe, if you really want something, hold on to your vision and find a way to try to bring it to reality.


8. How do you define community support? How do you see creativity and community support working together?

The merchants on Stockton Avenue have shown me, as a new business, that the support of our community can have a huge positive effect on both the financial success and pure emotional craziness that one goes through in opening a brick and mortar store. In particular, my next-door neighbor, Kathleen Glenn of Glenn Custom Framing, has been a ‘Goddess send’. Her wise words of advice, humor, generosity and welcoming support transformed my experience. Jen Komaromi from down the street at Jenny K organized a marketing advertisement campaign in our local magazine with four of the merchants on Stockton including adorn & flourish. As I’ve gotten to know my neighbors, they have become my customers and wish me the best in my new location. The Stockton Avenue space has exceeded my hope of finding a location that would feel comfortable and friendly.

As a manager of a retail store in my previous life, I know that my success is measured by the success of those around me. The simple idea of people coming together to do a little bit to help each other succeed, makes us all successful as a group… a community. When I had the vision of my shop, adorn & flourish, it was all about community! Having challenging experiences over the years of where and how to get my jewelry seen and sold, I knew that my purpose in this new venture would not only be to have a place to sell my own jewelry, but provide a lovely space for other artists in my community. This enables these artists to get their work out of their home studios. Adorn & Flourish is not a gallery, where sometimes items are high priced and unattainable, but a comfortable place where everyday locally handcrafted items, like casual jewelry, accessories and small home goods can be admired, appreciated and SOLD!!! The difference here, is that all our products are handmade, and most by someone in our community. I talk to customers about a particular artist’s process, where they’re from and materials they use. This helps the customer make a connection with the person who crafted what they’re about to purchase. It brings us all together. The community loves it, and even the tiniest of sales makes a huge difference to a small business. It’s not a new idea or a complicated idea, but one I’ve wanted to do for many years! Help others to thrive, and you will do so yourself!

9. What plans do you have for your business in the future?

I’d like to focus on making my shop even more successful by adding in a few more artists, raising the bar on what we can offer at affordable prices, while staying locally handmade. And I’d also like to implement an online shop for the store, furthering sales of local artists’ handmade goods. The bigger vision is to be a part of bringing more creative people together, possibly to Stockton Avenue, as part of a larger collaborative movement keeping dollars flowing in the El Cerrito community.

adorn & flourish (the store)
7025 stockton avenue
el cerrito, ca. 94530
www.adornandflourish.com

Fingado Art Gallery, Pam Fingado © 2011 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals. Call (510) 593 9081 or email pamfingado@fingadoartgallery for information.

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Interview with Kathleen Glenn Creativity and Community Support

Posted on December 8, 2011 by Pam
Kathleen glenn

Kathleen Glenn with award for sculpture, "Man With Hat" at the ECAA Annual Art Exhibit

Creativity and Community support

Creativity is a necessity in running a small business. Entrepreneurs are creative people and risk takers who are constantly adapting to the publics’ needs as well as fulfilling the desire to be in charge of their own destiny. Small business owners must think outside the box and be proactive problem solvers. They also need to be hard workers, focused and have support from their community in order to be successful. Kathleen Glenn of Glenn Custom Framing and Gallery is one of those creative problem solvers and small business owners. Her business has been in operation since 1971. She works long hours, is dedicated to her customers and focused.

I asked her about creativity and community support. I was specifically interested in how she used her creativity to reach the public, gain support for particular projects and sustain herself in business during the ups and downs of a long career.

1. Can you give me some examples of how you thought outside the box by creatively engaging and connecting the community in art and framing?

Revisiting the gallery idea and including local artists was one way I thought “outside the box.” After visiting First Fridays in Oakland (four years ago), I wanted to reinstate the gallery at the Glenn. I decided the second Friday would be better for El Cerrito. This gallery idea pulled together the Glenn Custom Framing, the El Cerrito Art Association and the community of El Cerrito. It helped with sustaining the business during the recession.

2. In your business, what are some of the small ways in which you use your creativity on a daily basis?

I find creative ways to see what the clients’ connection is to the art so I can design what they need. A lot is involved in getting people to open up to you. There is just a short amount of time to focus on what they need. On the phone there is even a shorter amount of time to get to find out what they need. I ask questions, explain framing and in this way form a relationship with the client. I try to educate.

3. Do you consider being creative an important part of a small business or do you see your business as a creative endeavor?

Yes, my business deals with displaying a creative piece. My business is about using the creative endeavors of artists. I prove that when someone brings the art to me.

4. Do you see yourself as a creative person?

Yes, I have to help my client choose something or design something which they own and then claim as their design. I have to help them find their creative ability to design and then they can claim ownership for it. They take an active part in the whole thing. I help educate them to make a good choice based on what they value. So it’s getting them to talk about what it is they value in the art piece. I help establish a dialogue to find out what goes along with and why the art was chosen. Was it for status, or are they acting as a guardian of a family heirloom or was it something that “spoke to them”- an emotion that made them select the art. My job is to help them find words that express what it is about the piece that made them purchase it in the first place. Then when they choose a frame and a design to beautify the art, they know why they picked it. They won’t take the framed piece home and say someone made all the choices for them. They’ll know why they chose the colors, the mat and the style of frame. They’ll also know more about the art piece, because we will have talked about it.

4. What particular projects have you helped with or initiated that proved a successful collaboration between the gallery and the public?

(See # 1 and the gallery idea revisited). With the shifting economy people need to see more art even though the art is the first thing to go. Art should be the last to go. Framing is expensive. It’s my job to see how to make it possible to own art and afford to frame it. The unfortunate thing for me is I’m not in framing for the money. Fortunately, I am about serving the community and building relationships. The hope is both can meet and both our needs will be met.

In small business, you follow the guidelines or follow your gut. Business is about establishing relationships for the future. Rules are set in stone. Sometimes we have to establish new relationship with a client and community. Helping people drives me and makes me creative.

5. How did you start…what propelled you into the framing business?)

After the first six years of working in a framing shop, I just did it and started my own business. I was 24 and borrowed money. There was a need to have a framer in the community and I met that need.
Relationships with clients were building from the very beginning. The feed back from the community was that I had talent and creativity. I bought a business from Oakland and started. I seized the opportunity and felt I had the support of the community. I felt the community had so much to give me and I felt they were feeding (encouraging) me.

6. What future plans do you have for your business.?

I am going to move and re-create Glenn Custom Framing in a smaller more intimate center. I am moving across the street (Stockton Avenue) in 2012 to re-establish myself on Stockton and to ride out the rest of the recession. I’ll be next to Reflections Hair Salon. This will be my sixth move in forty years of being in business in El Cerrito.

7. What would you advise for new entrepreneurs and start-ups?

Connect with your client. You need to establish relationships. Don’t forget yourself and put something away each week

8. Finally if you had one suggestion for artists who come to you with their framing needs, what would it be?

Be realistic….

Fingado Art Gallery, Pam Fingado © 2011 All rights reserved
Jump Start – Coaching and Mentoring For Creative Individuals. Call (510) 593 9081or email pamfingado@fingadoartgallery for information.

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Interview with Sandi Potter

Posted on November 29, 2011 by Pam

Lines of Transmission, an exhibit of monoprints by Sandi Potter will be shown at 95 3rd St. @ Mission in San Francisco, CA 94103
The artist reception is on Thursday, Dec 1 from 5:00 – 8:00 PM.
Take part in “First Thursdays” by visiting galleries in downtown San Francisco.

This exhibit is a culmination of Sandi’s Visual Arts studies taken at San Francisco based UC Berkeley’s Art and Design Program. I was curious about her reasons for returning to school and what she learned from the experience.

1. An artist statement tells us all about your work in academic terms. Can you describe your work to us in a less formal manner.

I make drawings, paintings, and mixed media images that are inspired by the landscape. I focus on man-made structures in the natural environment and am often drawn to monolithic structures such as towers and power lines. I’m interested in how these structures mark the surface of the land and how they mirror our modern relationship with the natural world. I offer a cautionary tale about the vulnerability of nature and warn about technology and consumption beyond our control.

2. Your exhibit is titled Lines of Transmission.
Why choose telephone poles for imagery?

monoprint

Portola Middle School Diptych by Potter (c) 2011

I’m drawn to these structures because they are ubiquitous, they are so common that we often fail to notice them. Also, they are usually considered unsightly. Aesthetically I see them as abstract lines and forms and I enjoy the repetition of structures. Conceptually, the power lines and communication facilities stand out as monument to our modern industrial life.

3. Most of the works in this upcoming exhibit are prints. Will you be doing any similar themed work in another medium?

I started this series making large-scale ink and charcoal drawings and I am continuing to explore the subject matter using a photo-transfer monotype technique. I’m currently working on a series of etchings that feature radio towers and airport navigational facilities. I will continue to explore these gritty urban landscapes using whatever media feels most appropriate to convey my idea.

4. I know you made these prints at Kala institute in Berkeley. Can you tell us a little about Kala and your experience there?

monoprint

Cooley Landing #4 by Sandi Potter (c) 2011

I’ve been an Artist-in-Resident at the Kala Art Institute since July 2011. Kala has allowed me to expand my exploration of print-making, to participate in classes, and be part of a supportive print-making community. I will be part of the upcoming group show of Artist-in-Resident’s work (Opening on December 15th at the Kala Gallery located at 2990 San Pablo Avenue in Berkeley). Most significantly, I have had the opportunity to get to know other artists working in the Bay Area (and across the county), to learn from them, and to develop friendships. Folks at Kala are mostly working in print-making but they are also painters, jewelers, sculptures, book-makers, and musicians.

5. You returned to school after a long hiatus and your background that prepared you for your current career is in an unrelated field. What exactly prompted your decision to return to school to study art?

I’ve always studied art even when I was studying Geology. I kept a sketchbook, making drawings of landscape features. I also worked as a cartographer, making maps and drawings of important fossils and other scientific features. It was always a dream of mine to earn a college degree in Art.

Though out my life I’ve worked in many media, including photography, collage, textile, and painting. For a time I taught art at the adult school and through an after school program. In 2001 I started taking classes at UC Berkeley Extension, then in 2008 I began work in the newly developed post-baccalaureate certificate program in Visual Arts. This program has allowed me to earn the equivalent of a Bachelors of Arts degree, a dream come true for me, and a path to deeper expression and understanding. The program offers a comprehensive program in studio art, art history, critique, and professional development.

6.What future plans do you have for your art career?

I hope to continue learning new print-making techniques at Kala and to continue to show my work, expanding my involvement in the East Bay Art community. I would also like to explore contemporary topics in visual arts with groups of artists and to develop curatorial proposals for thematic group exhibits.

7.Finally, for all those potential art students, what is the most significant thing you learned about yourself in art school.

I really got to know myself – both my artistic process and my aesthetic. I learned about my strengths and weaknesses and how to work outside my comfort zone. However, the most important thing I learned was that art is not just about drawing and painting well, but about thinking as an artist at a deep, philosophical level.

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